Sam Smith was the toast of the 57th Annual Grammy Awards on Sunday (08Feb15), walking away with four of the six honors he was nominated for, including the coveted Record of the Year.
The British soul sensation kicked off his celebrations early after claiming the very first award of the televised show for Best New Artist. He soon followed it up with the Best Pop Vocal Album for In The Lonely Hour, and was back onstage towards the end of the Los Angeles ceremony to wrap up his big night with wins for Song of the Year and Record of the Year for Stay With Me.
Taking to the stage for the fourth time, Smith poked fun at the ex-boyfriend who inspired the album, saying, "This is the best night of my life. I wanna thank the man who this record is about... Thank you so much for breaking my heart because you got me four Grammys!"
Fellow six-time nominees Beyonce and Pharrell Williams each went home as triple winners, while Beck landed Best Rock Album and Album of the Year for Morning Phase - and almost had Kanye West repeat his infamous stage invasion at the 2009 MTV Video Music Awards, when he interrupted Taylor Swift to defend his pal Beyonce's honor. This time, the rapper approached Beck as he collected the Album of the Year accolade, which Beyonce was also nominated for, and pretended to head towards the mic, before laughing and returning to his seat in the front row - much to everyone's amusement.
AC/DC got the Grammy Awards off to a rocking start with a hits medley, while Madonna dazzled the Staples Center audience in a red and black matador costume to sing her new release Living For Love, and Rihanna, Kanye West and Sir Paul McCartney staged the first ever performance of their new collaboration, FourFiveSeconds.
Other performance highlights at the event, hosted by LL Cool J, came from Ed Sheeran and Electric Light Orchestra frontman Jeff Lynne; Katy Perry, who honored victims of domestic violence with a powerful rendition of By The Grace of God; Sam Smith and Mary J. Blige's soulful collaboration on Stay With Me, and Pharrell Williams, who gave his Happy tune a gospel makeover, complete with Hans Zimmer on guitar and Lang Lang on piano.
The full list of winners at the 2015 Grammy Awards is:
Record Of The Year - Stay With Me (Darkchild Version) by Sam Smith
Album Of The Year - Morning Phase by Beck
Song Of The Year - Stay With Me (Darkchild Version) by Sam Smith
Best New Artist - Sam Smith
Best Pop Solo Performance - Happy by Pharrell Williams
Best Pop Duo/Group Performance - Say Something by A Great Big World With Christina Aguilera
Best Traditional Pop Vocal Album - Cheek To Cheek by Tony Bennett &amp; Lady Gaga
Best Pop Vocal Album - In The Lonely Hour by Sam Smith
Best Dance Recording - Rather Be by Clean Bandit featuring Jess Glynne
Best Dance/Electronic Album - Syro by Aphex Twin
Best Contemporary Instrumental Album - Bass &amp; Mandolin by Chris Thile &amp; Edgar Meyer
Best Rock Performance - Lazaretto by Jack White
Best Metal Performance - The Last In Line by Tenacious D
Best Rock Song - Ain't It Fun by Paramore
Best Rock Album - Morning Phase by Beck
Best Alternative Music Album - St. Vincent by St. Vincent
Best R&amp;B Performance - Drunk In Love by Beyonce featuring Jay Z
Best Traditional R&amp;B Performance - Jesus Children by Robert Glasper Experiment featuring Lalah Hathaway &amp; Malcolm-Jamal Warner
Best R&amp;B Song - Drunk In Love by Beyonce featuring Jay Z
Best Urban Contemporary Album - Girl by Pharrell Williams
Best R&amp;B Album - Love, Marriage &amp; Divorce by Toni Braxton &amp; Babyface
Best Rap Performance - I by Kendrick Lamar
Best Rap/Sung Collaboration - The Monster by Eminem featuring Rihanna
Best Rap Song - I by Kendrick Lamar
Best Rap Album - The Marshall Mathers LP2 by Eminem
Best Country Solo Performance - Something In The Water by Carrie Underwood
Best Country Duo/Group Performance - Gentle On My Mind by The Band Perry
Best Country Song - I'm Not Gonna Miss You by Glen Campbell
Best Country Album - Platinum by Miranda Lambert
Best New Age Album - Winds Of Samsara by Ricky Kej &amp; Wouter Kellerman
Best Improvised Jazz Solo - Fingerprints by Chick Corea
Best Jazz Vocal Album - Beautiful Life by Dianne Reeves
Best Jazz Instrumental Album - Trilogy by Chick Corea Trio
Best Large Jazz Ensemble Album - Life In The Bubble by Gordon Goodwin's Big Phat Band
Best Latin Jazz Album - The Offense Of The Drum by Arturo O'Farrill &amp; The Afro Latin Jazz Orchestra
Best Gospel Performance/Song - No Greater Love by Smokie Norful
Best Contemporary Christian Music Performance/Song - Messengers by Lecrae featuring For King &amp; Country
Best Gospel Album - Help by Erica Campbell
Best Contemporary Christian Music Album - Run Wild. Live Free. Love Strong. by For King &amp; Country
Best Roots Gospel Album - Shine For All The People by Mike Farris
Best Latin Pop Album - Tangos by Rubén Blades
Best Latin Rock, Urban or Alternative Album - Multiviral by Calle 13
Best Regional Mexican Music Album (Including Tejano) - Mano A Mano - Tangos A La Manera De Vicente Fernandez by Vicente Fernandez
Best Tropical Latin Album - Mas + Corazon Profundo by Carlos Vives
Best American Roots Performance - A Feather's Not A Bird by Rosanne Cash
Best American Roots Song - A Feather's Not A Bird by Rosanne Cash
Best Americana Album - The River &amp; The Thread by Rosanne Cash
Best Bluegrass Album - The Earls Of Leicester by The Earls Of Leicester
Best Blues Album - Step Back by Johnny Winter
Best Folk Album - Remedy by Old Crow Medicine Show
Best Regional Roots Music Album - The Legacy by Jo-El Sonnier
Best Reggae Album - Fly Rasta by Ziggy Marley
Best World Music Album - Eve by Angelique Kidjo
Best Children's Album - I Am Malala: How One Girl Stood Up For Education And Changed The World (Malala Yousafzai) by Neela Vaswani
Best Spoken Word Album (Includes Poetry, Audio Books &amp; Storytelling) - Diary Of A Mad Diva by Joan Rivers
Best Comedy Album - Mandatory Fun by "Weird Al" Yankovic
Best Musical Theater Album - Beautiful: The Carole King Musical (Jessie Mueller, principal soloist; Jason Howland, Steve Sidwell &amp; Billy Jay Stein, producers; Carole King, composer &amp; lyricist; Original Broadway Cast)
Best Compilation Soundtrack For Visual Media - Frozen (Kristen Anderson-Lopez, Robert Lopez, Tom MacDougall &amp; Chris Montan, compilation producers)
Best Score Soundtrack For Visual Media - The Grand Budapest Hotel by Alexandre Desplat
Best Song Written For Visual Media - Let It Go by Kristen Anderson-Lopez &amp; Robert Lopez Best Instrumental Composition - The Book Thief by John Williams
Best Arrangement, Instrumental or A Cappella - Daft Punk (Ben Bram, Mitch Grassi, Scott Hoying, Avi Kaplan, Kirstin Maldonado &amp; Kevin Olusola, arrangers; Pentatonix)
Best Arrangement, Instruments and Vocals - New York Tendaberry by Billy Childs, arranger (Billy Childs Featuring Renée Fleming &amp; Yo-Yo Ma)
Best Recording Package - Lightning Bolt by Pearl Jam Best Boxed Or Special Limited Edition Package - The Rise &amp; Fall Of Paramount Records, Volume One (1917-27) by Susan Archie, Dean Blackwood &amp; Jack White, art directors (Various Artists)
Best Album Notes - Offering: Live At Temple University by Ashley Kahn, (John Coltrane)
Best Historical Album - The Garden Spot Programs, 1950 by Hank Williams
Best Engineered Album, Non-Classical - Morning Phase by Beck Producer Of The Year, Non-Classical - Max Martin
Best Remixed Recording, Non-Classical - All Of Me (Tiesto's Birthday Treatment Remix) (Tijs Michiel Verwest, remixer (John Legend)
Best Surround Sound Album - Beyoncé (Elliot Scheiner, surround mix engineer; Bob Ludwig, surround mastering engineer; Beyoncé Knowles, surround producer (Beyoncé)
Best Engineered Album, Classical - Vaughan Williams: Dona Nobis Pacem; Symphony No. 4; The Lark Ascending (Michael Bishop, engineer; Michael Bishop, mastering engineer (Robert Spano, Norman Mackenzie, Atlanta Symphony Orchestra &amp; Chorus)
Producer Of The Year, Classical - Judith Sherman
Best Orchestral Performance - Adams, John: City Noir by David Robertson, conductor (St. Louis Symphony)
Best Opera Recording - Charpentier: La Descente D'Orphee Aux Enfers by Paul O'Dette &amp; Stephen Stubbs, conductors; Aaron Sheehan; Renate Wolter-Seevers, producer (Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble)
Best Choral Performance - The Sacred Spirit Of Russia by Craig Hella Johnson, conductor (Conspirare)
Best Chamber Music/Small Ensemble Performance - In 27 Pieces - The Hilary Hahn Encores by Hilary Hahn &amp; Cory Smythe
Best Classical Instrumental Solo - Play by Jason Vieaux Best Classical Solo Vocal Album - Douce France by Anne Sofie Von Otter; Bengt Forsberg, accompanist (Carl Bagge, Margareta Bengston, Mats Bergström, Per Ekdahl, Bengan Janson, Olle Linder &amp; Antoine Tamestit)
Best Classical Compendium - Partch: Plectra &amp; Percussion Dances by Partch; John Schneider, producer
Best Contemporary Classical Composition - Adams, John Luther: Become Ocean by John Luther Adams, composer (Ludovic Morlot &amp; Seattle Symphony)
Best Music Video - Happy by Pharrell Williams
Best Music Film - 20 Feet From Stardom by Darlene Love, Merry Clayton, Lisa Fischer &amp; Judith Hill
Grammy Trustees Award - Richard Perry, George Wein, Barry Mann and Cynthia Weil President's Merit Award - Martin Bandier
Lifetime Achievement Award - George Harrison, Bee Gees, Buddy Guy, Louvin Brothers, Wayne Shorter, Pierre Boulez and Flaco Jimenez.

Motown legend Diana Ross is in talks to perform at Britain's iconic Glastonbury festival next year (15), according to a U.K. report. The Chain Reaction hitmaker is in discussions with organisers to follow in the footsteps of country icon Dolly Parton by filling the 'legends' slot on the main Pyramid Stage.
A source tells Britain's The Sun newspaper, "Glastonbury bosses were thinking it was going to be impossible to top Dolly. But now it looks like they will get Diana Ross, which will be incredible... It won't be cheap but she's worth every penny. She still tours around the world and puts on a fantastic show."
Music legends including Dame Shirley Bassey, Brian Wilson and Johnny Cash have previously performed at the music event. Parton wowed the crowds at this year's festival in June (14).

Warner Bros. Pictures via Everett Collection
Clint Eastwood, famous for gritty westerns, intimidating squints and asking punks if they’re feeling lucky, wouldn’t be the first person you’d think of to direct a glitzy movie musical. He’s about as far removed from the world of production numbers and intricate choreography as you could possibly get, so it’s something of a surprise that he’s the director bringing the hit musical Jersey Boys to the big screen. Though the film is based on the lives and careers of Frankie Valli and the Four Seasons, the film’s real star power is behind the camera, which should help it stand out in an unusually crowded field of movie musicals.
Though it's been a few years since we've seen a full-blown spectacular on screen, 2014 has three iconic musicals receiving the Hollywood treatment. After Jersey Boys has gotten moviegoers warmed up, December will bring a new, modern take on Annie as well as the star-studded film adaptation of Stephen Sondheim's iconic Into the Woods. But which of these upcoming musicals are the real show-stoppers, and which are you better off skipping? We've run down the year in movie musicals, along with their potential for greatness, both critically and commercially.
Jersey Boys Opens: June 20 What It’s About: The story of Frankie Valli and the Four Seasons, and their journey from being four guys harmonizing under a streetlight to becoming one of the biggest bands in the world, including the gambling debts, mob threats and personal crises that almost stood in their way. Star Power: Director Clint Eastwood and Christopher Walken in a supporting role. The main cast is made up of primarily unknowns, although John Lloyd Young won a Tony Award for playing Frankie back in 2006. How Good It Looks: Thus far, it’s gotten mixed reviews, with many critics taking issue with its by-the-book approach to an interesting, conflict-filled story. That weird, grey filter that Eastwood uses can’t be helping matters, either. Box Office Potential: The film hasn’t gotten a lot of promotion ahead of its release, but the Four Seasons are a recognizable enough name that Jersey Boys should be able to pull in a decent amount of money. The show’s still going strong on Broadway 8 years later, after all. Awards Potential: It’s being released too far from awards season, and the early reviews aren’t strong enough to make Jersey Boys a real contender, but we’d be surprised if Eastwood or Young’s name didn’t come up in conversation once or twice - but only once or twice. Number Worth Waiting For: “Can’t Take My Eyes Off Of You,” of course.
Annie Opens: December 19 What It’s About: Business tycoon Benjamin Stacks takes in Annie, a foster child who has been living in the evil Miss Hannigan’s orphanage since she was born, in order to help his Mayoral campaign. Star Power: A pretty star-studded cast, including Jamie Foxx, Cameron Diaz, Rose Byrne, and of course, Quvenzhane Wallis. How Good It Looks: Every production of Annie lives and dies by its hero and its villain, and while Wallis seems to be a charming and entertaining Annie, Diaz’s Miss Hannigan seems downright terrible. This is definitely a film that can go either way. Box Office Potential: A beloved, classic, family-friendly musical with a Christmas release date and a big-name cast? It’s probably going to rake in the cash. Awards Potential: Very little. Unless it’s animated, the Academy doesn’t really pay attention to child-friendly films, and anyway, this Annie is more about spectacle than substance. Number Worth Waiting For: “Hard Knock Life.” We’d say “Easy Street,” which everyone knows if the best number in the show, but it’s probably best to wait and see some more of Diaz’s Miss Hannigan before we get too excited for it.
Into the Woods Opens: Christmas What It’s About: Set in a fairy-tale forest, a witch attempts to teach various characters important lessons about life and love. Star Power: Off the charts: Meryl Streep, Johnny Depp, Chris Pine, Anna Kendrick, Emily Blunt and Christine Baranski, to name just a few. How Good It Looks: Not much has been released about the film yet, so it’s hard to tell, although Streep does look fantastic as the Witch. Box Office Potential: If the A-List cast or theater pedigree doesn’t bring in a big audience, the massive marketing push that Disney will inevitably roll out should do the trick. Expect this one to do very well with moviegoers. Awards Potential: Of the three films on this list, Into the Woods has the best shot at any awards recognition, even if it’s just because Streep gets nominated every time she leaves the house. We’d be surprised if Sondheim’s new music doesn’t become a major contender in the Best Original Song race, and depending on how well the film is received, Kendrick, Blunt and director Rob Marshall – all former nominees – could have a decent shot at a nomination as well. Number Worth Waiting For: “No One is Alone,” which is not only the most well-known song from the show, but will also be sung by Kendrick, everyone’s dream best friend.
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Walt Disney Pictures via Everett Collection
Johnny Depp used to be relevant.
Films like Edward Scissorhands and Ed Wood established Depp as an idiosyncratic performer willing to appear in offbeat projects. Who can forget his iconic performance in Jim Jarmusch's revisionist Western Dead Man, or in Terry Gilliam's drug odyssey Fear and Loathing in Las Vegas? It seemed, for a while anyway, that Depp was a different kind of movie star. He was weird, for sure, but also accessible, and hundreds of teenage girls across the world idolized him and cherished his abnormality.
Then came Captain Jack Sparrow. To be fair, the first Pirates of the Caribbean is a great film, but the rest of the series represents a lazy attempt to cash in on the original chapter's unmatched excellence. Depp turned Sparrow into a caricature, and with each Pirates installment, the magic of the original performance rapidly diminished. If Depp wasn't making a Pirates movie, he could be seen in the latest Tim Burton project, or in The Rum Diary, a film that might as well be an inferior sequel to Fear and Loathing in Las Vegas. Not all of Depp's recent movies are trash, but most of them are, and at the very least they suggest that Depp is more interested in making money than making quality movies.
Depp's forthcoming big studio film Transcendence might just be the final nail in the coffin. Is Depp, the once enigmatic auteur performer of the 1990s, officially over?
There's certainly room for a comeback, but at the present moment, all signs suggest that Depp has lost his cultural and cinematic significance. Like Will Smith, Depp continues to appear in Hollywood blockbusters and makes a ton of money for doing so, but his films are hardly as influential or important as they were in the 1990s. Moreover, I think we can all agree that The Tourist and The Lone Ranger don't work as mainstream entertainment in the way the first Pirates does. This is important to point out, because it's not necessarily Depp's constant appearance in mainstream films that is his problem (after all, it works well for Leonardo DiCaprio and George Clooney), but his inability to distinguish between intelligent blockbusters and mindless drek.
I understand that show business is tough to crack, and everyone, even Depp, needs to make a living. Who am I, after all, to criticize his career choices? I get it. But Depp has committed arguably the worst sin possible for a movie star. He's spent years selling the audience on his unique star persona, only to appear in lame tent-pole productions that are void of creativity, originality, and respect for the audience. Was this Depp's plan all along, or did he unintentionally fall off track at some point?
We'll never know, but one thing is certain: the jig is up, and the name Johnny Depp barely generates excitement from the same people who hung his poster on their bedroom walls. What do you think? Cast your vote below.
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An album of lost Johnny Cash material is due to be released after the country star's son discovered tapes of the recordings. The late country icon recorded Out Among The Stars in the early 1980s with producer Billy Sherrill, but the album was never released by Columbia Records and the Ring of Fire star was dropped from the label in 1986.
But the singer and his wife kept tapes from the recording sessions, and these were discovered by his son John Carter Cash last year (12). He has now re-recorded portions of the tracks.
Cash tells Billboard.com, "They kept everything in their lives. They had an archive that had everything in it from the original audio tapes from The Johnny Cash Show to random things like a camel saddle, a gift from the prince of Saudi Arabia...
"We were so excited when we discovered this. We were like, 'My goodness, this is a beautiful record that nobody has ever heard'."
He adds, "Johnny Cash is in the very prime of his voice for his lifetime. He's pitch perfect. It's seldom where there's more than one vocal take. They're a live take and they're perfect."
The 12 tracks, which include two duets with Cash's wife June Carter Cash, are due to be released in March (14).

Fine Line Features
It’s hard to believe, but this Halloween marked the 20th anniversary of River Phoenix’s death. The actor had yet to reach his peak when he died of a drug overdose outside The Viper Room in Hollywood at only twenty-three years old. Phoenix was often referred to as the new James Dean, and as hyperbolic as that may sound, it was actually very true – Phoenix displayed a truthful and raw intensity in all his roles that projected a maturity beyond his years, which is impressive considering that he had grown up having never seeing a film in his life. His short career inspired a legion of actors and his death allowed actors such as Leonardo DiCaprio and Johnny Depp to have the careers they had. The troubled actor was also heavily involved with environmental organizations: he had famously bought a section of the Amazon rainforest after receiving his first big check, just so that portion of the forest couldn’t be cut down. Sensitive and intelligent, Phoenix was more than just a pretty face – he was a one-of-a-kind performer that brought authenticity to every role he played. (But damn, that face sure was pretty.)
Explorers Ok, so Explorers isn’t exactly award-winning material, but it's Phoenix’s first feature film and is adorably weird. The film is a dorky sci-fi fantasy that has a chubby-faced Phoenix (who looks like the stereotypical image you get when you hear the words “President of the AV Club”) starring alongside a young Ethan Hawke (bonus point of greatness: Phoenix’s character is named Wolfgang). The boys somehow come up with a magic machine out of a Tilt-A-Whirl cart and cruise around different galaxies, so the film is obviously awesome. Though it didn’t fare well in box office sales, the film went on to acquire a cult following.
Stand By Me Truly one of the best coming-of-age films, Stand By Me was only Phoenix’s second feature film. The movie was well-acted by all the leads, but Phoenix showed a maturity beyond his fourteen years. Stand By Me was also when he began his trademark trend of being able to steal the entire movie he was in with just one scene. For the famous scene by the fire in which Phoenix’s character breaks down after sharing his disappointment of a teacher betraying him, director Rob Reiner reportedly told the actor to think of the saddest moment in his life – once the scene was over, Phoenix was still crying uncontrollably. The depth that Phoenix brought to the role was effortlessly translated on the screen and immediately turned him into a star, full on with both critical acclaim and Tiger Beat covers.
Running On Empty A storyline that had similarities with the actor’s own life, Running On Empty had Phoenix starring alongside Judd Hirsch, Christine Lahti, and Phoenix’s then-girlfriend, Martha Plimpton. The film finds Phoenix living as the son of two fugitives on the run from the FBI for an anti-war protest bombing of a napalm lab. The family had to constantly move around and change their identities, harking back to Phoenix’s own nomadic childhood during his family's days in the controversial Children of God cult. The scene of Phoenix’s confession about his identity to Plimpton’s character in the garden was hands-down the best scene in the film, and his performance ended up getting him an Oscar nomination at the ripe young age of seventeen.
Dogfight Dogfight is such an overlooked and underrated film, not only in Phoenix’s filmography, but just in general. The Nancy Savoka–directed flick is set in Vietnam War-era San Francisco and has a deceptively simple storyline: Phoenix plays an eighteen year-old Marine who takes Lili Taylor out on a date the night before he’s shipped off to Vietnam – what Taylor’s character doesn’t know is that Phoenix is taking her to a “dogfight,” a pretty evil game the other Marines play in which the soldiers compete for cash for who can bring the ugliest date. Taylor finds out and leaves, Phoenix follows, and voila – sappy rom-com, right? Except Dogfight somehow manages to be a wonderfully profound movie that avoids stereotypes and predictability, instead illuminating the nature of human relationships. Both Taylor and Phoenix’s performances are brilliant, and their adorably awkward bedroom scenes are so realistic, you’ll be cringing in your seat along with them. Plus, the film gives Musical Bingo some cred by making it spark some serious foreplay, so that’s totally awesome, too.
The Thing Called Love Though it’s definitely not the best film in his catalogue, The Thing Called Love is a great movie just for Phoenix’s crazy chemistry with Samantha Mathis, who he was wooing during filming (spoiler: he succeeded). It also has a charming Dylan McDermott and a young Sandra Bullock, just before she broke through with Speed. The film revolves around country music, but even if country isn’t your thing, the songs are still enjoyable and, making it even better, the actors actually sing their own songs. Phoenix initially wanted to be a musician and had a band called Aleka’s Attic alongside his sister Rain, so getting to see/hear Phoenix’s musical chops is a treat. The film is also Phoenix’s last completed film, and despite the fact that Phoenix was obviously strung out during filming, the charm and complexity he brought out in his character makes the film worth it.
My Own Private Idaho Considered to be Phoenix’s magnum opus, My Own Private Idaho has Gus Van Sant directing in all his weird, ethereal glory. The film is essentially an entanglement of two stories, one of Phoenix on a mission to find his long-lost mother, and the other revolving around Keanu Reeves in a loose adaptation of Shakespeare’s Henry IV and Henry V. Phoenix plays a narcoleptic street hustler who’s in love with Reeves, his wealthy best friend who is really just playing gay-for-pay to rebel against his father. The film is notable for its Shakespearian dialogues and dreamy sequences symbolizing Phoenix’s character’s narcolepsy, but it’s Phoenix who makes the film the treasure that it is, serving as the heart and soul of the entire movie. The famous campfire scene where Phoenix professes his love to an uncomfortable Reeves was mostly rewritten by Phoenix himself, and the result is one of the most heartbreaking and well-acted scenes in film. My Own Private Idaho is when Phoenix allegedly began using drugs, and the character he played is eerily similar to perceptions of Phoenix – sadly conflicted, passionate and generous, jaded and tired, yet idealistic and innocent.
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Actress Kate Hudson and her fiance Matt Bellamy celebrated Halloween early at the weekend (26Oct13) by staging a Game Of Thrones-themed costume party in Los Angeles. The couple opened up its Pacific Palisades home, which was decorated to look like a Game of Thrones set, for the star-studded bash and dressed up as a wildling woman from the fantasy TV series and Kit Harington's character Jon Snow.
Hudson's mum Goldie Hawn and her longtime partner Kurt Russell came dressed in traditional German attire, while the hosts' pal Bradley Cooper arrived on a motorbike dressed as a gorilla, with his girlfriend Suki Waterhouse.
Also attending the bash were new parents Fergie and Josh Duhamel, who dressed up as horror movie icon Elvira and creepy Rocky Horror Picture Show character Riff Raff.
Jessica Alba and her husband Cash Warren, Johnny Knoxville, Larry David, Martin Short, Russell Simmons and Chloe Sevigny were also among the guests.

WENNHaving previously worked with her ex, Sum 41 frontman Deryck Whibley, on the likes of "The Best Damn Thing" and "Goodbye Lullaby," Avril Lavigne has also continued to mix business with pleasure on her upcoming self-titled fifth album by hooking up with her new hubby, Nickelback frontman Chad Kroeger, for the majority of its 13 tracks. The tiresome and faux-rebellious brat-pop of its first two singles suggests she'd have been better off leaving him at home. But not every husband-and-wife musical partnership is as derivative as the Lavigne-Kroegers. Here's a look at five of the best.Johnny &amp; June Carter CashResponsible for country music's greatest love story, Johnny Cash toured with The Carter Family in the early 60s before hooking up with one of their singers, both romantically and professionally, as famously depicted in the Oscar winning Walk The Line.Sonny &amp; CherAfter meeting as backing singers for Phil Spector, Sonny &amp; Cher then became the golden couple of the 60s with a string of iconic pop hits ("I Got You Babe," "The Beat Goes On") before embarking on an equally successful TV career.Ike &amp; Tina TurnerTheir actual marriage may have been plagued by troubles, most notably domestic violence and Ike's drug addiction, but the tempestuous couple undeniably defined the soul-rock scene of the '60s/'70s with the likes of the Grammy-winning "Proud Mary" and the legendary "River Deep Mountain High."The White StripesInitially claiming that they were siblings in an effort to keep the focus on their music, proof emerged in 2001 that Jack and Meg White had in fact recently divorced after a four-year marriage. For many, their 1999 self-titled debut is The White Stripes at their primitive best.TennisAlaina Moore and Patrick Riley might not have the same high-profile yet as the four names above but their gorgeously jangly blend of indie-rock and surf-pop has produced two of the finest husband-and-wife albums of the 21st Century.
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NBC
Mini-series have long been a great way to while away a summer. The form had largely disappeared, but Under The Dome, an adaptation of a Stephen King novel of the same name, has seen a revival.The 1980s had the best ones, though. Part of it may have been the fact that we had a lot fewer distractions then, with many fewer channels, no cellphones or internet. Here's five of the best Miniseries from the age of shoulderpads and Swatches.
Shogun (1980)
A rare case of the TV show/movie being as good as the book. They did a great job of bringing James Clavell's massive tome of the same name to life. Richard Chamberlain excelled as a white man in feudal Japan. Also, anything with Toshiro Mifune, who was one of the greatest Japanese actors of all time, in it can't be bad.
The Thorn Birds (1983)
This was a sprawling story that covered 60 years in the lives of the Cleary Family and starred Chamberlain as a priest who falls tragically in love with a woman. He OWNED the mini-series market during the '80s. He wasn't the most dominant Chamberlain, though. Wilt was having his way with thousands of women during this decade.
V: The Final Battle (1984)
The original campy version in the '80s definitely outshone the recent remake. Marc Singer was great as one of the main protagonists in this battle for the planet Earth against aliens who definitely aren't friendly like E.T.. The warlike extra-terrestrial visitors in this mini-series would eat that Reeses Pieces-loving alien for lunch.
North and South (1985)
A mini-series about the Civil War with a young Patrick Swayze, well before his Roadhouse and Dirty Dancing days. No, he didn't become a ghost and begin dancing during the series. It also had Kirstie Alley, David Carradine, and Johnny Cash. Cash didn't sing "Hurt" during this either.
Shaka Zulu (1986)
Christopher Lee was in it. Enough said. Anything with a badass like him is automatically worth watching. Even his character's name, Lord Bathurst, sounds like someone you don't want to mess with. The funny thing is that most of the mini- series takes place during a time after the titular character was dead.
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Johnny Cash once sent a supportive letter to Billy Ray Cyrus, insisting the Achy Breaky Heart hitmaker was the next Elvis Presley. The country singer became a break-out star in 1992 with the song, which quickly became one of the most-hated sing-along tunes ever - but he knew he could always count on Cash to back him up.
And in an interview with Queen Latifah on her new chat show, he reveals that just months after the song was released, the music legend took note of Cyrus' success, and personally extended him a warm welcome to the country music community.
Cyrus explains, "In June of 1992, he wrote a handwritten letter that basically said it was good to be reminded where all good things come from - from almighty God above. And he said that I reminded him of his buddy Elvis Presley.
The letter read: "36 years ago, I was working with Elvis and saw him take the same kind of flak you're taking now. Congratulations on the way you're handling it all. In your case, as in Elvis', the good outweighs the bad. Let 'em have it. I'm in your corner."
Cyrus continued, "It was a great source of strength at the time and I always loved Johnny Cash. To this day, I'm his number one fan."